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Penelope Trappes<\/a> was sitting at her kitchen table when she realized that if she wanted to get her point across, she\u2019d have to drag a dead body across a parking garage. She didn\u2019t intend to commit an actual murder of course \u2013 just to use an anonymous woman\u2019s corpse as a stand-in for the societal expectations, emotional labor, and even physical discomfort intrinsic to the experience of living in a female body. The sinister nature of her endeavor would evoke the work of dark auteurs like David Lynch and feminist art icons Cindy Sherman, Francesca Woodman, and Ana Mendieta, soundtracked with Trappes\u2019 single \u201cBlood Moon<\/a>,\u201d from the third installment of her solo LP series, Penelope Three<\/em>, out May 28 via Houndstooth<\/a>. <\/p>\n\n\n\n \u201cBasically the whole album\u2019s supposed to be a film, but due to time constraints that\u2019s not gonna happen \u2018til later in the year,\u201d Trappes explains. She\u2019s released equally haunting and gorgeous clips this album cycle, co-directed with Agnes Haus<\/a>, for \u201cFur & Feather<\/a>\u201d and \u201cNervous,\u201d the latter of which she says \u201cwas very much about channeling that sort of romantic gothic witchy stuff\u2026 borderline horror\u2026 tapping into some sort of subconscious response to what you\u2019re hearing.\u201d<\/p>\n\n\n\n Indeed, those aesthetics play out sonically across the album as Trappes delves into themes related to motherhood, aging, anxiety, grief and healing \u2013 the final chapter in a conversation she began in 2017 with her solo debut Penelope One<\/a><\/em> and continued on 2018\u2019s Penelope Two<\/a><\/em>. Appropriately, Three<\/em> feels like the most fully realized expression of Trappes\u2019 vision, brought to life by atmospheric drones, ghostly vocal loops, mysterious samples, disjointed piano, guitar reverb, and evocative percussion.<\/p>\n\n\n\n